Odalisque c. 1930 - 1931

Curator: Here we have William Roberts' "Odalisque," a pencil drawing currently residing in the Tate Collections. The support measures about 20 by 13 centimeters. What springs to mind for you? Editor: The grid! It's all about the grid. See how Roberts meticulously plotted out his odalisque. It gives it this wonderfully constrained, yet sensual feel. Curator: Absolutely, the grid speaks volumes about Roberts' methodical approach, typical of his Vorticist leanings. Notice how he uses it not just as a guide, but almost as a cage for the figure. The heavy lines trap her. Editor: But she's not entirely contained. There's a tension between the rigid structure and the soft, almost classical lines of the figure. She seems to be listening to music—or maybe the sea—with that shell to her ear. Curator: And that adds a layer of intimacy, doesn’t it? It's a private moment, almost voyeuristic, even though the technique is so obviously exposed. Editor: It's a fascinating juxtaposition of control and vulnerability. The grid reminds us of the artist's process, yet the figure is so human. Curator: Precisely. Roberts lays bare his mechanics, yet somehow deepens the mystery. Editor: I came in thinking this was just a technical drawing, but there is something much deeper here. Curator: It's like the odalisque is whispering secrets to us through the grid, isn’t it?